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Yorkshire Sculpture Park EVA ROTHSCHILD Resource File Yorkshire Sculpture Park EVA ROTHSCHILD Resource file Eva Rothschild (born 1972) is an Irish artist based in London. Rothschild was born in Dublin, Ireland. Her work references the art movements of the 1960s and 1970s, such as Minimalism. She has used materials such as Plexiglas, leather and paper in her sculptural pieces and she also makes wall-based works and videos. In 2003 she selected EASTinternational with Toby Webster. She is represented by Stuart Shave/Modern Art, London. Education 1997 – 1999 MA Fine Art, Goldsmith’s College, London 1990 – 1993 BA Hons Fine Art, University of Ulster, Belfast, Ireland Solo Exhibitions 2011 The Hepworth, Wakefield Public Art Fund, New York, USA (forthcoming) 2009 Duveen Galleries, Tate Britain, London Stuart Shave/Modern Art, London Galerie Eva Presenhuber, Zürich, Switzerland Francesca Kaufmann, Milan, Italy La Conservera: Centro de Arte Contemporaneo, Murcia 2008 Tate Britain, Millbank, London The Modern Institute, Glasgow, Scotland 2007 South London Gallery, London 303 Gallery, New York, USA 2006 Galerie Eva Presenhuber, Zurich, Switzerland 2005 Douglas Hyde Gallery, Dublin, Ireland Modern Art, London 2004 Kunsthalle, Zurich, Switzerland Artspace, Sydney, Australia 2003 Heavy Cloud, The Modern Institute, Glasgow, Scotland Sit-In, Galleria Francesca Kaufmann, Milan, Italy 2002 Modern Art, London Project Art Centre, Dublin, Ireland 2001 Eva Rothschild, Els Hannape Underground, Athens, Greece Peacegarden, The Showroom, London Peacegarden, Cornerhouse, Manchester, England Eva Rothschild, Francesca Kauffman Gallery, Milan, Italy 1999 Eva Rothschild, The Modern Institute, Glasgow, Scotland 1998 Eva Rothschild, Titanik Galerie, Turku 1996 Great Wall / Black Hole, Iain Irving Projects, Aberdeenshire Eva Rothschild, Centre for Contemporary Art, Glasgow, Scotland 1995 Eva Rothschild, Bercsenyi Galleria, Budapest, Hungary Selected Group Exhibitions Awards / Commissions 2009 Tate Britain Annual Duveens’ Comission 2000 –2002 Delfina Trust, London, studio residency 2000 Camden Arts Centre, London, artist in residence 1997 PADT / BAA Heathrow Arts Programme, Belfast Lounge commission Independent Public Arts / Stirling Council, ‘National Flags’ project 1996 Scottish Arts Council, Amsterdam, studio residency Publications 2009 Ruf, Beatrix, Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon Press, London, p. 252-253 2007 Unmonumental: Falling to Pieces in the 21st Century (exhibition catalogue), published by the New Museum and Phaidon 2006 Clarrie Wallis, Tate Triennial, exhibition catalogue, Tate Publishing, London All Hawaii Entrées / Lunar Reggae, (exhibition catalogue), published by Charta 2005 Eva Rothschild, Essay by Watson, Grant. 2005, (exhibition catalogue), published by The Douglas Hyde Gallery, Dublin 2004 Eva Rothschild, Kunsthalle Zürich, (exhibtion catalogue), ublished by JRP Ringier Kunstverlag AG, Zurich, Switzerland The Carnegie International, (exhibition catalogue), published by The Carnegie Museum of Art 2002 Early One Morning, (exhibition catalogue), published by Whitechapel Art Gallery, London 2001 Peacegarden, (exhibition catalogue), published by Showroom Gallery, London Selected Bibliograhy 2010 Cotton, Michelle. The Dark Monarch, Frieze, January-February, p. 122 2009 Coxhead, Gabriel. Exhibition Review, Time Out, July 23-29, p. 48 Duguin, Hannah. Women at work, Independent, August 28, p. 4-6 Cumming, Laura. Exhibition Review, The Observer, July 5 Exhibition Review, The Guardian Guide, July 4, p. 38 Exhibition Review, Evening Standard, June 29, p. 8 Cork, Richard. Eva Rothschild, Solid Geometry, Art World, June-July, p. 130-134 Adams, Stephen. Tate to install giant sculpture, The Daily Telegraph, March 31, p. 11 Baracaia, Alexa. Exhibition Review, The London Paper, March 30, p. 6 Jury, Louise. Exhibition Review, Evening Standard, March 30, p. 5 2008 Archer, Michael. Eva Rothschild: South London Gallery, ArtForum, January, p. 291-292 Van der Vlist, Eline, Eva Rothschild, Modern Painters, December-January, p. 97 2007 Hunt, Ian. They don’t unpack: Eva Rothschild interviewed by Ian Hunt, Art Monthly, November, p. 1-4 O’Reilly, Sally. Eva Rothschild: South London Gallery, Time Out, p. 46 Eva Rothschild, Dazed and Confused, October, p. 239 Jones, Kristin M. Eva Rothschild, Frieze, October, p. 287 Lubbock, Tom. Wire in the Blood, The Independent, September, p. 12-13 2006 O’Keeffe, Alice. New Britart stars spurn celebrity cult, The Observer, February 26, p. 13 Making a pile for art, The Journal, September 24 2005 O’Brian, Paul. Dublin: Eva Rothschild at Douglas Hyde Gallery, Circa 113, Autumn, p. 94-95 Keating, Sarah. Eva Rothschild and Rupert Spira, May 13-20 Sam, Sherman. Eva Rothschild: Modern Art 18 Mar-16 April, Map Magazine, Summer, p. 54-55 Leahy, Billy. Keeping the Faith, The Village Magazine, May 6-12, p. 59 Leen, Catherine, Eva Rothschild, The Sunday Times, May 1 2002 Grant, Catherine. _Early One Morning: Whitechapel, London, Flash Art, October, p. 49 Gayford, Martin. _A new generation of sculptors harks back to the Sixties, Sunday Telegraph, August Searle, Adrian. Early One Morning: Whitechapel Art Gallery, The Guardian, July 24 Dorment, Richard. Better that BritArt, The Daily Telegraph, July 17 Darwent, Charles. They’re a crafty bunch, sculptors, The Independent, July 14 O’Reilly, Sally. Review, Time Out London, May 15-22 Packer, William. Dawn of the morning after, The Financial Times, July 30 2001 Peacegarden, (exhibition catalogue), The Showroom Gallery, London Higgie, Jennifer. Paint it Black: Jennifer Higgie on Eva Rosthschild, Frieze, November/December, p. 78-79 Collections Tate Gallery, London Carnegie Museum Collection, Pittsburgh Arts Council Collection, London Irish Museum of Modern Art, Dublin Southampton City Art Gallery, Southampton Frieze Magazine Issue 110 October 2007 Eva Rothschild 303 Gallery, New York, USA An alchemist of sorts, Eva Rothschild has created many lushly mysterious two-dimensional pieces by weaving together found posters, photographs and computer-generated patterns. Her first New York solo show offered one of these barely decipherable images, an eerily futuristic rondo in black and flourescent green titled The Back of Your Head (all works 2007), but it was dominated by a series of objects that radiated a tense, unsettling energy. Every bit as hybrid as the woven-paper works, these morphologically shape-shifting sculptures incorporated organic and inorganic materials, including leather, Perspex, wood, tiles and aluminium; some of them combined angular with sinuous forms. Flexible or hanging elements recalled post-Minimalism, while sleek quasi-geometric structures hinted at Minimalist DNA. Several evoked the trappings of various ideologies, countercultures and religions, including New Age and the occult. Some emitted a disturbing emotionalism, including two dramatic, black-lacquered works: Ordinary Me and Magical You, a horizontal, diamond-shaped wall piece with bars extending from its sides and tangling in the centre, and Blackout, an arrangement of three triangles pointing upwards: one open and two solid with hexagonal cut-outs, and a pair of hexagons, like crystals spilling from a pyramid. Other objects were humorous in a way that recalled some of Eva Hesse’s work, although they radically depart from Hesse’s anxious Modernism with their glossy elegance, whiff of Gothic mystification and placing of spiritual and emotional angst in quotation marks. Hesse, of course, strove for her sculptures to offer no more than what was materially present, whereas Rothschild is preoccupied with precisely the opposite: her work explores how objects acquire meanings that are extraneous to the objects’ material reality. In an interview with Andrea Tarsia of the Whitechapel Art Gallery she remarked, ‘I’m interested in the ways of looking that go with concepts of faith and in how things are invested with a power above and beyond their materiality, the transference of spirituality onto objects’. A spectral need to believe seems literally to hold aloft White Wedding, whose title perhaps alludes to the eponymous Billy Idol song, with its sepulchral tones and lyrics dripping with sarcasm and disillusionment. A hula-hoop-like ring wrapped in braided black and white leather from which long fringes spill onto the floor, it appears to be suspended in mid-air. It may evoke the ancient concept of a ‘cosmic marriage’ between the earthly and the terrestrial, but its title hints that such a union would be essentially hollow; here, if opposites come together, it is in a vaguely ominous shotgun wedding. This work suggests symbolism ascribed to circles in various religious and art-historical traditions, including Native American art, circles as emblems of totality, unity, heaven, perfection – or, sometimes, nothingness. Formally, this enigmatic show-stopper echoes a pivotal Hesse work, Untitled (1965), in which she dangled a length of painted and cord-covered hose from a ring wrapped with cord and painted with enamel. But White Wedding embraces the polish, neatness and beauty that Hesse eschewed in pursuit of the awkward, comical and absurd. Elegance, narrative, decorativeness, anthropomorphism – these bugaboos of much 1960s and ’70s art all come into play in Rothschild’s objects. At times her work calls to mind Michael Fried’s musings on the latter in his 1967 essay ‘Art and Objecthood’. He wrote that ‘the apparent hollowness of most literalist work – the quality of having an inside – is almost blatantly anthropomorphic. It is, as numerous commentators have remarked
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